Tag Archives: Buying equipment

Action portraits… easy to do

Action Portraits

• Action Portraits •
Getting the shot in action situations is not difficult although the lighting can prove a key aspect of success. (Shot taken from the video)

Getting it right…

Most photographers have a go at action shots. Vehicles are common targets – they are easy to find and fun to do. Action portraits can be great fun too and you can do them at home.

Lets talk flash…

 Set up pictures at home to show some action.

Easy action shots at home for anyone.
“Some more bed-jump!!” by Mr Din, on Flickr  External link - opens new tab/page

In its most basic form, it’s a portrait of someone in motion (action?). The wonderfully muscled fighter in the shot above is one way to go. On the other hand pictures of your grand children jumping into the air can be just as effective – and probably more relevant for many of us!

Use off-camera flash for best results

The basic technique is to capture the action with a flash. You can use the on-board flash on your camera. However, it will tend to leave tight shadows on the wall behind the action because the flash is directly in line with the optical axis of the camera. Such shadows look artificial and are difficult to remove in post processing. They look as if there is a slight double image. In the picture of the jumping children the flash is from the left hand side. If you look carefully the shadows are projected away from the kids giving a more realistic feel.

Off-camera flash can be placed to the side of the shot and used to illuminate the scene, give it a little depth and off-set those harsh shadows. For this you can use an off-camera flash. I use this one…

YONGNUO YN460 Flash Speedlite for Canon Nikon Pentax Olympus…  External link - opens new tab/page
This is an excellent buy… it is inexpensive and can be used for any off-camera flash situations. It is reliable, robust, flexible and effective.

I have several of these flash units. At about one fifth of the price of a branded product they are excellent value. If you want to get something a little more sophisticated you can get the YONGNUO YN-560 II Flash unit  External link - opens new tab/page – also a great product. With inexpensive remote flash triggers  External link - opens new tab/page you can set them off when not connected to the camera.

What are you going to capture?

Plan out your scene in advance. You will need someone to be the action taker. You could use more than one person. Then, work out what they are going to do. Jumping on the spot is a favourite. You also try jumping or stepping off something like a chair or low table. You can do skipping, walking, Kung Fu, Juggling, tumbling, hula-hoop, playing ball… well all sorts of things.

How do you do it?

I am assuming that you will be working in a domestic room with a white wall behind the actions.

It is best to use a robust tripod to mount your camera. This is essential. Action shots often cause floor movement and you want a good tripod (Manfrotto 055XPROB)  External link - opens new tab/page and tripod head (Manfrotto 322RC2 Grip Ball Head)  External link - opens new tab/page to give you a chance.

You will need to pre-focus your shot and have it ready to take because you cannot easily compose for action in progress. So set up the camera in advance. Here are some typical settings to get you started…

  • Turn off image stabilisation on your lens.
  • Focus your lens on your subject then turn off the auto-focus.
  • Set white balance to the appropriate ambient light setting.
  • Set ISO to 200 (or 400 experiment).
  • Aperture priority (select F5.6 as a start) [Shutter speed will be set by the camera].
  • Flash synchronisation – 200ths or 250ths of a second (if you need to set it check your manual).
  • Flash setting, try the lowest setting or 1/16th or 1/8th power – again, experiment.

This will give you appropriate starting points. Check you shot and then make any changes to the settings. If you click up or down a setting – say aperture or ISO – then the camera will compensate with a different shutter setting for you. Experimentation is good!

OK, now you are ready for action… this part takes a little practice. The idea is to sit next to your camera ready to push the shutter button as soon as the action is where you want it. As you have already lined up your focus the person can now perform and you can press the button as you see fit to capture your shots. Fire away, enjoy yourself.

Two tricks you have learned here

1. The pre-set-up of your shot is important. There are lots of situations where you can do that. So think about it – that is one of the benefits of having a tripod.
2. Flash! The way to capture a good shot like this is to have a very fast shutter speed. That freezes the action. However, I have suggested you hand the shutter speed to the camera by using the “aperture priority” mode. Well, you can in fact control shutter speed another way. By varying the flash duration. “What?”… I hear your cry. “You did not tell us about that control! But I did. Flash intensity is always the same for any given micro-second. It becomes more intense for the sensor if you leave it on longer. When you set the power of the flash to low power you are actually shortening the length of the flash. Hence you are more able to freeze the action. However, to do this you will need to have your ambient light lower. So using natural light rather than bright room lights works better for this technique.

See how its done in a video

In the video you can see all this action in a full process. The photographer, Joel Grimes, starts off by some discussion about how he came to discover this secret and how he used it in a studio context. Then from about six minutes into the video he shows you how to take the shots.

Remember that the settings are important. He mentions about low power and says that it works to freeze the action IF the flash is more intense than the ambient light. Watch out for that.

One other thing worth looking at is the shot progression. He is constantly assuring his model that he has done a good job. Then he is at the same time developing his shot. He is constantly evolving the positions and situations until he gets the shot he wants. This is critical. Make sure you look out for odd lighting effects, hands over face, bits of body out of the frame etc… He works the shot to reach his ideal as he visualised it – then stops. Even great photographers have to practice and perfect a shot. This is quite a helpful lesson about that. Enjoy!
“Special FX, High Speed Action”

Framed show  External link - opens new tab/page

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By Damon Guy (author and Photokonnexion editor)

Damon Guy - Netkonnexion

Damon Guy (Netkonnexion)

Damon is a writer-photog and editor of this site. He has run some major websites, a computing department and a digital image library. He started out as a trained teacher and now runs training for digital photographers.
See also: Editors ‘Bio’.

Review your own photographs

Low flying aircraft

• Low flying aircraft •
Click image to view large
• Low flying aircraft • By Netkonnexion on Flickr External link - opens new tab/page
Every picture has its merits. However is there enough in the picture to interest and invigorate the attention of your viewers? Sometimes, like this picture, if you don’t have a point worth making then you should not really bother with it.

A picture is a wonderful communication.

But like speech if there’s no point there is no impact. To help you see if you have made a great picture here are some guiding points.

We are going to consider…
• What you are communicating:
• Presentation:
• Camera technique:
• Technical Quality:
• Visual Awareness, Visualisation, Seeing and aesthetics:

Looking critically at your own picture

When you make a picture your previsualisation of what you want to achieve is critical to the outcome. If you don’t know what you are trying to make how can you make it convincing? So try to have a mental image of what your picture it going to look like when you make it. If you can see the image before you make it you should have a good point in mind – a reason for making it. All too often snappers see something and just ‘snap’. That being the case, few of the images will have real meaning or impact.

When looking at your own picture you must see if there is really something there. Are you really saying anything? Are you really communicating with the viewer of your picture? Or, is what you have just made only a simple picture? To have real impact is to create in the viewers mind an image. An image that means something to them. So look at your picture and honestly ask yourself what is the viewer going to get from it? What will it mean to them? If you find that you have really said something in the picture then the first criteria for success has been passed.

To this end you should consider how successfully each of these things has contributed to the success of the image…

  • Personal input: have you understood and connected with the subject
  • Appropriate communication the message, mood, ideas, and information you want to pass to your viewer
  • Complementary use of the photographic media (mounting, projection, printing, texture of print etc.)
  • Appropriate imagination and creativity / suitable timing for the shot
What about the other things?

• Presentation: It is important to have a good presentation for your picture. Have you edited out distractions and sensor/lens spots, removed the errant sweet rapper littering the foreground etc. In other words, have you done the little tidying up tasks that make the image stand up as clean representation of your original vision for it? If it is a print, is it well mounted in a non-distracting way. Is the printing immaculate or are there streaks and spots; over-run and smear.

• Camera technique: Is the sharpness the way you want it – deliberate softness is fine as long as that is making an artistic point in a way you intended. Is the depth of field right for the composition? Have you emphasised the point or simply missed the point. Is the digital noise too high, or the contrast too low. What you are looking for here is to see if your prowess with the camera has come through. Did your technique work or were there any errors or mistakes that detract from the delivery of your point? Some of the other things to consider are…

  • Viewpoint to the subject – exciting, interesting, different, right?
  • Choice of lighting – does it complement or complete the subject or is it at odds with your point?
  • Accurate focusing – accurate choice of focus for the subject.
  • Appropriate quality and choice of exposure.
  • Suitable use of depth of field (aperture).
  • Appropriate shutter speed for the subject (and shot timing).
  • Highlights and shadows (ensuring detail is retained)
  • Appropriate quality and choice of exposure – does the balance of light and dark complement or detract from the subject?
  • Is the quality of the light effective or bland; does is make a statement or is it of little consequence?

• Technical Quality:
In this category you should consider exposure, colour and tonal control…

  • Absence of processing faults (dust, spots, hairs, processing artefacts, image damage by sharpening etc.)
  • Appropriate adjustments of colour temperature; hue, saturation, colour balance etc.
  • Appropriate tonal use and control of the range of tones.
  • Good image finishing: removal of distractions, removal of abrupt or discordant features.
  • Appropriate use of levels, curves, colour management, filters, overlays etc (post processing)

In this category you are looking to make sure that the image is digitally developed properly. Is the exposure even or has it been obviously enhanced and changed. Is the light effective to make the point or has the exposure not been fine tuned. It is easy to take a picture, but all these thing go into making an image. Think about what you are trying to achieve and does this picture achieve it with its colour and technical delivery/

• Visual Awareness, Visualisation, Seeing and aesthetics:
Do you think that your shot, the one you have in front of you sees anything different? Are you reporting what you saw or expressing a point, message, communication, feeling… does this picture have IMPACT?

  • Is the composition, design and cropping of the image an effective aesthetic construction?
  • Appropriate simplification (minimising complexity and clutter)
  • Distractions / intrusions should not divert the viewers eye
  • Good use of light, mood, texture and colour
  • Good use of masking/manipulation where appropriate
What you are doing…

Each time you want others to look at your picture you want to impress them, to lift them, to… well, get out your message or point for the picture. The type of questions I have asked above are aimed at getting you looking at your images with a critical eye. If you are honest, you will find that none of your pictures will be satisfactory in all of the above. But if you find you are gradually improving your standard of delivery you will see that the above get closer to ideal with every new picture. Critically reviewing each picture before you publish print or show it to other people helps make sure you are producing something worth showing.

You won’t be right every time. But you will see as you develop, your comments will begin matching those of other people. You will than have a benchmark that tells you if your work is measuring up to peoples view of it. Or, more importantly to see if your picture is measuring up to your original vision of how you wanted the shot.

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By Damon Guy (author and Photokonnexion editor)

Damon Guy - Netkonnexion

Damon Guy (Netkonnexion)

Damon is a writer-photog and editor of this site. He has run some major websites, a computing department and a digital image library. He started out as a trained teacher and now runs training for digital photographers.
See also: Editors ‘Bio’.

Buying a tripod – the essentials

Buying Tripods

• Buying Tripods •
Buying a tripod? There are a lot to choose from. So what should you look for?
Image from the video.

Why would you buy a tripod?

Because a tripod is of the central pillar of your sharpness strategy. Without a tripod you are denying yourself the opportunity to use a large proportion of the settings on you camera. Let’s look more closely at what this means…

Settings

Your camera has three primary controls…

  1. ISO – Controls how sensitive your camera image sensor is to light.
  2. Shutter speed – Controls how long your sensor is exposed to light.
  3. Aperture – controls how much light is allowed to reach the sensor.

These are inter-related. As we want a high quality result (with low digital noise) we set the ISO to around 100. Therefore, for our purposes here we are particularly interested in two of those settings.

  1. Shutter speed – movement blur created with long exposure; movement frozen at short shutter speeds.
  2. Aperture – Wide aperture, shallow depth of field; small aperture gives a deep depth of field.

Looking at these you need to consider how you do photography where only low levels of light enter your camera. Here are some examples:

  • Landscape – Use aperture f11 or higher. Small aperture gives Depth of Field, but lowers the light influx. Therefore you need to have a longer shutter speed especially during the Golden Hour. Hand-holding is not an option.
  • Portraiture – In bright sunlight a shallow depth of field (wide open aperture – blurred background) would overexpose the shot the shot.Use a Neutral Density Filter. This reduces light influx but means a ling exposure. A tripod stops handshake.
  • Still life: You are doing a still life requiring low light for the mood shadows. To get the exposure you need a longish exposure. You do some test shots. Your best exposure is with a shutter speed of one second. Tripod needed!
  • Fireworks: You need to hold the camera steady for about 1/20th of a second to get the full spread of the explosion. Tripod – essential.
  • A disco dance floor – If you want to capture movement you will need to work at around 1/60ths of a second. But you also need sharpness right through. You will need an aperture of f8 or f10. A Tripod is essential if you want the movement blurred and the rest of the room sharp.
  • Photographing a baby. Flash changes the mood and invites crying. It’s also harsh light. Baby skin loves natural light. Use a fast shutter and tripod. Make the composition right then watch the baby. Pick your moments and take several shots. A tripod helps you can concentrate on the right moment while baby is still and happy. You don’t have to recompose for every button push.
  • Family photo – Set the timer, join the group! A tripod is essential.

I could go on… there are dozens of everyday scenarios requiring a tripod. These are just the obvious ones. For sharp, quality shots I need to use a tripod around 75% of the time. My tripod is essential to my business.

If you are an amateur you probably cover more varied situations than me. You need a tripod for a high quality result. It is not uncommon for me to hear students say, “I never use a tripod, I don’t need one”. Then in almost the same breath, “Why are my pictures always blurred or dull?” The answer to the question is – to get a proper exposure you need a tripod.

Lots of people say, “A tripod just slows me up!” My response is simple. Most amateurs take ten shots to get one – and are not necessarily successful. A tripod actually saves you time. You can rely on one shot being sharp. In post production you review one shot for each composition, not dozens.

What to look for…

In general the main considerations are:

  • Well designed: smooth operation, strong leg clips so you can set the tripod at various leg heights.
  • Centre column: Solid, little movement, clamps solid.
  • Legs – variable wideness: You can spread the legs out wider and at different angles to each other.
  • Tripod provides a platform for different heads: Do not buy a tripod with one type of head pre-fitted. It may not be suitable for your camera and there are different heads for different types of photography.
  • Weight or lightness: Solid and heavy tripods mean a good platform. Lighter carbon fibre tripods are more expensive, but the carbon fibre has the ability to reduce vibration (especially when stressed by a weight bag hanging on it to steady it).

For general work I use this tripod…

Of course you need a good head on a good tripod. This head is my mainstay for most work…

A good tripod will last you years. It will be stable and steady even in wind. It will not wear out easily. A worthwhile investment. Don’t be tempted to go cheap. Look for quality brands with after sales parts and good design. Spend more and you will have a flexible friend that helps you in all aspects of your photography.

Have a look at these ranges of tripods. I use a Manfrotto for most situations, but there are other quality ranges. My Benro tripod is very rugged and nothing beats it on a beach or mountainside. Check out these links for a range of ideas…

Manfrotto tripods  External link - opens new tab/page

Gitzo Tripods  External link - opens new tab/page

Giottos Tripods  External link - opens new tab/page

Benro Tripods  External link - opens new tab/page

Which Tripod Should I Buy?

Mike Browne introduces this video with the basics of how to think about what you want in a tripod. What he says is good thinking. At the end two other photographers add their advice. I was impressed with the comments of both. There is a lot of great advice in this video.

Mike Browne  External link - opens new tab/page

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By Damon Guy (author and Photokonnexion editor)

Damon Guy - Netkonnexion

Damon Guy (Netkonnexion)

Damon is a writer-photog and editor of this site. He has run some major websites, a computing department and a digital image library. He started out as a trained teacher and now runs training for digital photographers.
See also: Editors ‘Bio’.

Fifty tips to set photography starters on their feet

There are some great things to learn.

When you are starting out and need to learn some things fast, it helps to have some guidance. Here are a few things photographers need to know to get started. And some things I wish I had known when starting photography…

Roller coasters ‘R’ us – Photo-learning list…
  1. If you want to learn fast take lots of pictures.
  2. If your pictures aren’t good enough, you’re not close enough.
  3. Spend more time reviewing your pictures than it took to make them.
  4. There are billions of types of light. Learn to see 10 types to start.
  5. Get obsessed with the quality of light and its properties.
  6. Work on image composition at least as hard as your technical skills.
  7. Use natural light as much as possible. Learn its variations.
  8. Don’t use on-board flash. It will ruin your shots.
  9. Make people a central study of your photography.
  10. Count 1000, 2000 slowly then take your camera from your face.
  11. Think carefully about how to do it well. Then follow a process.
  12. Clean your kit before you go out and when you’re back. Cameras hate dust.
  13. “Learners don’t need a tripod”. My biggest learning mistake.
  14. Sharpness is a habit – work hard to get it right from the start.
  15. Think “Why am I taking this picture?” for every shot you take.
  16. Add another lens to your “kit lens” as soon as you can.
  17. Great lenses are more use than an expensive camera. Spend more on them.
  18. Don’t cheap out on a tripod. Cheap ones will not do the job.
  19. Use your tripod.
  20. Own more than one memory card AND more than one battery.
  21. Learn the meaning of RAW and then shoot with it.
  22. “Your first 10,000 photographs are your worst.” ― H. Cartier-Bresson
  23. A keen digital photog can clear 10,000 shots in 14 days – shoot more.
  24. Make some photography gear. You’ll understand your needs.
  25. Gear lust replaces your photographic vision with a hole in your pocket.

More after this…

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  1. Carry your camera with you everywhere.
  2. Look at 50 pictures by other people every day.
  3. Take a clichéd shot – satisfy your curiosity. Store it in a secret place!
  4. The “Rule of thirds” works nearly all the time. Learn it early.
  5. Simplicity is the ultimate sophistication.” Leonardo da Vinci
  6. Read your camera manual. Try something. Read that bit again. Repeat.
  7. Have a go at every setting on your camera lots of times.
  8. A proper stance will provide a steady hand-held camera position.
  9. Amateurs often do better pictures than professionals.
  10. And, Professionals do more good pictures, more often.
  11. If your photos look tired and drab – go manual – learn control.
  12. For every shot you do, look at 50 similar ones. How does yours look?
  13. Don’t panic. Usually there is no problem.
  14. No photo, however good, replicates reality. Cameras distort – get over it.
  15. If you see it one way, most people will see it a different way.
  16. Check all gear before you go. Have a list of what you need.
  17. Know why you are going to a location and plan shots in advance.
  18. Back up your files. If your hard drive crashes you will lose the lot.
  19. Wear the right clothes. You cannot do good photography if you are cold.
  20. Help someone else to learn. You will learn too, and make a friend.
  21. Learn the meaning of “exposure” – practice using manual settings.
  22. Learn “Depth of Field” and practice it with each of your lenses.
  23. Post processing is an art and part of photography. Learn it.
  24. Join a club or class – you learn fast with other photogs.
  25. Use Google Images to research every shot you take.
And one for luck!

Photography is fun. Make sure you go with that!

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By Damon Guy (author and Photokonnexion editor)

Damon Guy - Netkonnexion

Damon Guy (Netkonnexion)

Damon is a writer-photog and editor of this site. He has run some major websites, a computing department and a digital image library. He started out as a trained teacher and now runs training for digital photographers.
See also: Editors ‘Bio’.

Know how to use a gobo? You have probably used them…

A gobo can be used to fit on off-camera flash units

• A gobo can be used to fit on off-camera flash units •

A simple idea – but so useful!

A gobo is used to block or shape light – normally using black screens of some sort. They’re commonly used in the movie industry, and more recently photography. Find out all about them here…

Of light and shadow

It sounds like a grand and mysterious name. In fact the term gobo is a rather straight forward. Here is what the Oxford English Dictionary (OED) Gobo - Oxford English Dictionary | External link - opens new tab/page says…

gobo, (noun); gobos (plural)
Etymology: Unknown. Originally from the U.S.
1930 – Gobo, portable wall covered with sound-absorbing material.
1936 – A ‘gobo’ is a small black screen used to deflect light.
1970 – A gobo is anything that goes between, e.g., the light and the set.
OED (online) Seen 08/08/2013  External link - opens new tab/page

So, this wonderful little word seems to have been a compound word from “go between”. Hmmm! I would like to see some proof of that. The side entry in the OED says in red “This entry has not yet been fully updated (first published 1972)”. Seems a long time without full qualification.

What is the Gobo really about? Manipulation of light and shadow. Our more technical definition in the Photographic Glossary (gobo) goes into more depth about how it is used in five broad ways in modern photography…

  • To block light or create shapes or patterns of light and shadow together.
  • A mask with a shape cut out of it fixed to the light and used to project a light shape (eg. a logo).
  • Cards/screens to create shaped shadow or deeper shadow in a scene.
  • A jury rigged light modifier on a light to shape or direct the light.
  • A mask placed in the light beam which shapes the light/shadow in the scene.
  • A light modifier allowing some light through and casts a specific shadow or diffusion shape

It is interesting that both the Hollywood studios and the OED use the term to manipulate and absorb sound. Of course in photography sound is less important. You can see however, that gobos are used to shape light and shadow in various ways.

How do gobos affect you?

If you have ever held your hand, a hat or a piece of card up to shade your lens to prevent flare or lens reflection you have used a ‘flag‘. Originally a gobo was the term used for protective devices to keep a lens out of incidental light. Now days the more specialist term, flag, is used for shield or blocking of light especially when it relates to the protection against lens flare. Understandable the two terms are easily mixed up. A flag seems to be used mainly for blocking light out. A gobo more for manipulating light, especially where that involves creating shadows.

Today I was photographing a white van in very bright overhead light. I keep a black blanket in my equipment for this type of situation. My assistant held up the blanket behind me to create a broad shadow across the corner of the van I was photographing to cut out the strong sun light. This is one form of gobo. It was not cutting out the light completely. I was reducing the very bright sunshine to an area of pure white so I could more easily pick out the details.

In a studio you might use a a black screen to intensify the darks in one area of a scene. It is a mood enhancer in this situation.

On another day I was working on business portraits. The office was a bright, but grey colour. We used plants on a trellis with a light behind it to create a shadow-pattern of leaves and diamond shapes onto the wall giving added interest to the background, breaking up the grey. This is a gobo too – being used to enhance the light/shadow ambiance.

More after this…

A solid light of the same colour and intensity across a still life is boring. Use cards or diffusion surfaces to vary the light and create slight shadows or graduate the light. One side of the still life use a black card to darken and block light. On the other side use white card to intensify and diffuse it.

A gobo is often used to shield the camera from light too, but it is not a flag. In A quick shoot using water? Tips to get you started… from yesterdays post a gobo could have been placed in front of a flash unit on the table. This would prevent the light getting directly back to the camera lens, but still project the light onto the back wall. A two in one gobo.

There is one further really fun use of gobos that is growing in photography. The recent growth of interest in light painting has renewed the interest in projecting shapes onto surfaces to be photographed. A black card with a logo or shape cut out of it can be placed directly in front of a light source. The light shining through the shape projects it onto a far surface. Then, in the dark, light painters can photograph the projection. Light painting is the intrepid art of photographing deliberately manipulated bright lights in the dark. It’s great fun!

What have we learned

A gobo is a term that describes the manipulation of the light shadow relationship. We use a range of blocking and masking techniques to manipulate the light and the gobos are the instruments of that manipulation. A flag on the other hand is a pure blocker of light.

Have fun thinking this one over. It is a useful concept and one that has infinite uses for mood, variation of shadow and creating settings.

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A quick shoot making water splashes? Tips to get started…

Water splashes :: Have a go at water from a bottle

• Have a go at water from a bottle •
Water splashes :: Great fun, easy to do at home.
Picture taken from the video.

Photographing water splashes is great fun!

Every photographer has to have a go at water splashes some time. It is fun, can be done at home, and produces some creative. exciting and visually interesting shots. To get started you need very little kit. Here’s how you can have a go…

Water splashes :: Fine art water droplets

Everyone wants to do water droplets splashing up. Typical fine-art water droplets shots produce brilliant shapes and forms that we don’t see every day. I am sure you have seen them… if not here is a page of examples ::
Fine art water droplet images on Google  External link - opens new tab/page

Water splashes :: Working with water to get started

Fine art water splash shots need quite a bit of practice and precise measurements. It is better to get some practice working with water first. Then you will learn about the equipment and working with water. You will also get some great shots.

Start off with an easy exercise. The video is going to show you how you can do photos of water tumbling out of a bottle. You get some great results and there is a twist to add a little pizazz. You can show the bottle with the water splashes going upwards!

The video will show you how to set up the water splashes shot with a bottle. Here are a few things you need to do for this exercise. In the video Gavin Hoey has some expensive equipment. We can do it using only household items.

What you need…
  • A water tray – to collect the water splashes coming out. Use a baking tray or large bowl.
  • Use a broom stick or pole to hang the bottle. Put two chairs on a table with the the pole between them Use the backs to hang the bottle. This gives you enough height for the shot at a comfortable level.
  • Use a smallish, thin-necked bottle. Large bottle necks let the water out too quickly. Start looking for the right bottle now. You will have found what you want by the weekend!
  • To suspend a bottle without a studio clamp, tie the bottle around with a length of string long enough to hang it from your pole. Then use some packing tape, or electrical tape to stick down the string tied around the bottle. This stops the bottle from slipping out of the string. This method actually does a better job than shown in the video because the bottle hangs slightly to one side – a pleasing composition. Tape the string onto the bottle near the end of the bottle so your shot captures the top part of the bottle without seeing the tape.
  • If your bottle swings too much while the water is coming out, tie it up using two strings affixed to the bottle. Tie them to the pole wider apart than the width of the bottle and this will stop the swing.
  • In the video Gavin suggests using an off-camera flash. OK, lots of you do not have these. Use the pop-up flash flash on your camera. The problem is that the on-board flash may create a bottle shadow on your background. This is because the flash is in-line with the shot. Notice how the flash is below the bottle in the video. Pull your working table away from the background. Then, well away from the water, point one or two bright domestic lamps at the wall. These will stop shadows and make sure that you have a perfect white background. I usually stand them on the floor behind the table and point them at the wall from there.

Apart from these tips the rest of the equipment is much as shown in the video.

One trick not in the video…

Cleaning! Don’t we all hate it? Yes, but it can really make a difference to your shots. Make sure you clean your bottle really carefully. Did I mention carefully? One thumb mark, dirty trace or blotch and the beautiful clarity of your shot will be ruined. Wash it in detergent and make sure it is dry (free of drips) before you start. It really makes a difference.

Please remember safety…

This is a safe exercise if you remember a few tips…

  • Make sure any electrical appliances are well away from any water splashes.
  • Ensure there are no trailing electrical wires near any water or equipment.
  • Have a towel on hand. Mop and dry wet patches on the table and floor as soon as they spill to prevent slipping.
  • Keep your camera and especially any flash equipment away from the water splashes. You don’t want to break your camera or get it wet.
  • Flash guns, even ones with batteries, release very high power jolts of electricity and can be dangerous if wet.
  • With chairs on the table make sure they are safe from falling.
  • This may seem a fun environment for kids… it’s not. Keep them clear. Have fun with the pictures later.
  • Remember, food dye can mark certain clothes, table tops and carpet materials. Keep it clear from these things, wear old clothes.
How to create amazing photos with water and a bottle


PhotoGavin  External link - opens new tab/page

A fun extension activity…

I have found that this bottle exercise can be huge fun. However, it’s also fun to experiment. I have on occasion placed various items under the falling water. Place them within the range of your shot frame. It takes a little lining up. Fun things like brightly coloured objects work well. Try grapefruit, lemon, bright colour balloons a bath duck and so on… Make sure you have something large enough to catch the water splashes. This makes way-more mess over a larger area!

If you want to make it really fun you can do the water splashes falling on someone’s head. Yeeha!

Have fun with your water splashes. With only a few tries you can get some great results and have some excellent shots to show your friends.

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The top twenty phototips that you should know

20 spots - twenty tips

• 20 spots – twenty tips •
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Learning photography is about…

Doing the simple things really well. Although there are a lot of things to learn, the important ones are a few things you do over and over again. If you improve them you will automatically improve your photography.

Work on these to make the biggest improvement
  1. A proper stance will provide a proper, steady hand-held camera position.
  2. Go everywhere with your camera. Use it every day – improve every day.
  3. Learn with what you’ve got, better equipment will not improve your skill.
  4. Three essentials – camera, lens, tripod. Learn to use them all equally well.
  5. Get close, fill the frame, your shots will probably be better.
  6. Think about every shot before you push the shutter button.
  7. Count to two before taking your camera away from your face.
  8. Never just look at others’ photos – do a critique every time.
  9. Work on your composition skills at least as hard as your technical skills.
  10. Be inspired by other photographers, but develop your own style.
  11. Discuss photography as much as possible with other photographers.
  12. Look for contrasts in colour, light, shape and other variables.
  13. Declutter your shots, show it as simply as possible.
  14. Use natural light as much as possible – get to know its properties.
  15. The rule of thirds works more than 95% of the time.
  16. Try different perspectives, points of view and heights at each scene.
  17. Vary shutter speeds, ISO and aperture settings to experiment with exposure.
  18. Make people, and especially faces, a central study in your photography.
  19. Great photos can be found everywhere – you just need to look out for them.
  20. Be completely obsessed with the study of light and the language of light.

If you pay attention to these important tips you will find your photography will develop.

Photography becomes a way of life, but don’t make it the only thing in your life. You need other interests to bring new perspectives into your photography.

Most of all enjoy what you are doing. Photography should be fun… don’t take it too seriously. Laugh a lot.

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By Damon Guy (author and Photokonnexion editor)

Damon Guy - Netkonnexion

Damon Guy (Netkonnexion)

Damon is a writer-photog and editor of this site. He has run some major websites, a computing department and a digital image library. He started out as a trained teacher and now runs training for digital photographers.
See also: Editors ‘Bio’.